Voicing and Singing - Versionsgeschichte

Heinrich: /* Scientific Studies */

2021-05-01T18:18:23Z

Scientific Studies

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	'''Claudia Fritz''' (2005)<ref name=Fritz>Fritz, Claudia, Causse, René, Kergomard, Jean, and Wolfe, J. n.d. Experimental study of the influence of the clarinettist's vocal tract. Forum Acusticum (Hongrie Budapest) HAL CCSD 2005. [https://www.researchgate.net/profile/Claudia_Fritz/publication/228430788_Experimental_study_of_the_inflence_of_the_clarinettist's_vocal_tract/links/543284240cf225bddcc7ad5f.pdf researchgate.net] {12 Dezember2020}</ref> investigated the behavior of fundamental frequency, harmonic spectrum, and response in the clarino and chalumeau registers for the voicings [i] and [a]. In addition to measurements with professional clarinetists, they also set up an experimental arrangement with a mechanically played clarinet, with no human components. While the fundamental vibration hardly changed when playing with different vowels in the chalumeau register, a richer overtone spectrum did result from the vowel [i]. The differences were more pronounced in the clarino-register. Moreover, depending on the voicing, quite different fundamental frequencies could be produced. In agreement with the clarinetists’ opinions, the response was better with the voicing [i]. In another study, Claudia Fritz et al. (2005)<br>		'''Claudia Fritz''' (2005)<ref name=Fritz>Fritz, Claudia, Causse, René, Kergomard, Jean, and Wolfe, J. n.d. Experimental study of the influence of the clarinettist's vocal tract. Forum Acusticum (Hongrie Budapest) HAL CCSD 2005. [https://www.researchgate.net/profile/Claudia_Fritz/publication/228430788_Experimental_study_of_the_inflence_of_the_clarinettist's_vocal_tract/links/543284240cf225bddcc7ad5f.pdf researchgate.net] {12 Dezember2020}</ref> investigated the behavior of fundamental frequency, harmonic spectrum, and response in the clarino and chalumeau registers for the voicings [i] and [a]. In addition to measurements with professional clarinetists, they also set up an experimental arrangement with a mechanically played clarinet, with no human components. While the fundamental vibration hardly changed when playing with different vowels in the chalumeau register, a richer overtone spectrum did result from the vowel [i]. The differences were more pronounced in the clarino-register. Moreover, depending on the voicing, quite different fundamental frequencies could be produced. In agreement with the clarinetists’ opinions, the response was better with the voicing [i]. In another study, Claudia Fritz et al. (2005)<br>
	<br>		<br>
	'''Claudia Fritz''' (2005)<ref ~~name=Fritz~~>Fritz, ~~Claudia, Causse, René, Kergomard, Jean, and~~ Wolfe~~, J~~. ~~n.d. Experimental study of~~ the ~~influence~~ of ~~the clarinettist's~~ vocal ~~tract~~. ~~Forum Acusticum (Hongrie Budapest) HAL CCSD~~ 2005. ~~[https://www.researchgate.net/profile/Claudia_Fritz/publication/228430788_Experimental_study_of_the_inflence_of_the_clarinettist's_vocal_tract/links/543284240cf225bddcc7ad5f.pdf researchgate~~.~~net]~~ {12 ~~Dezember2020~~}</ref> showed that clarinetists each choose their own specific configuration of the vocal tract, and only change it at different register positions. Among the participating clarinetists, however, no uniform voicing could be found.		'''Claudia Fritz''' (2005)<ref>Claudia Fritz, Joe Wolfe. How do clarinet players adjust the resonances of their vocal tracts for different playing effects. 2005. archives-ouvertes.fr {12. Dezember 2020}</ref> showed that clarinetists each choose their own specific configuration of the vocal tract, and only change it at different register positions. Among the participating clarinetists, however, no uniform voicing could be found.

	RB. Johnston (1999)<ref name =Johnston></ref> investigated this phenomenon with a mechanically blown clarinet. He found that the acoustic resistance in the oral cavity corresponds to that in the instrument. Appropriate voicing can influence register, intonation, and timbre can be influenced.		RB. Johnston (1999)<ref name =Johnston></ref> investigated this phenomenon with a mechanically blown clarinet. He found that the acoustic resistance in the oral cavity corresponds to that in the instrument. Appropriate voicing can influence register, intonation, and timbre can be influenced.
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			[[Kategorie:Fundamentals, English]]
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			[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

	==References==		==References==

Heinrich am 1. Mai 2021 um 18:15 Uhr

2021-05-01T18:15:12Z

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	[[Gerald Kraxberger#Voklalformung\|Gerald Kraxberger]] had the experience that opening the throat often results in a loss of embouchure control. He nevertheless recommends the vowel formation [a], while simultaneously creating a focus right at the front, in embouchure formation through the lips. If this is not possible, he recommends the vowel formation [i].		[[Gerald Kraxberger#Voklalformung\|Gerald Kraxberger]] had the experience that opening the throat often results in a loss of embouchure control. He nevertheless recommends the vowel formation [a], while simultaneously creating a focus right at the front, in embouchure formation through the lips. If this is not possible, he recommends the vowel formation [i].

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	==Scientific Studies==		==Scientific Studies==
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	In French, in addition to Joseph Marchi<ref name=Marchi></ref>, the technique of vocalization is treated in detail by authors such as Alain Sève (1998)<ref> Seve, Alain. Le paradoxe de la clarinette: étude générative des multiphoniques, des 1/4 de tons, des micro-intervalles. Paris, 1998</ref> oder Mathieu Gaulin (2018)<ref>Gaulin, Mathieu. Initiation aux bois. 2018 [https://dokumen.tips/documents/initiation-aux-bois-mathieu-gaulin-saxophoniste-2018-07-22-exercice.html dokumen.tips] {12.08.2020}</ref> which refers to vocalization.		In French, in addition to Joseph Marchi<ref name=Marchi></ref>, the technique of vocalization is treated in detail by authors such as Alain Sève (1998)<ref> Seve, Alain. Le paradoxe de la clarinette: étude générative des multiphoniques, des 1/4 de tons, des micro-intervalles. Paris, 1998</ref> oder Mathieu Gaulin (2018)<ref>Gaulin, Mathieu. Initiation aux bois. 2018 [https://dokumen.tips/documents/initiation-aux-bois-mathieu-gaulin-saxophoniste-2018-07-22-exercice.html dokumen.tips] {12.08.2020}</ref> which refers to vocalization.
			<br>
			<br>
			'''Stephanie Angloher''' (2007)<ref>Angloher, Stephanie. 2007. Das deutsche und französische Klarinettensystem eine vergleichende Untersuchung zur Klangästhetik und didaktischen Vermittlung. München: Utz. http://d-nb.info/995346488/34.abgerufen am 24. September 2020.</ref> cites only one instructional work in the German-speaking world, the "Illustrierte Klarinettenschule" by Barbara Wilhelm (1998)<ref>Willhelm, Barbara. Illustrated clarinet school. Incl 2 Cds, for German and French clarinet, with new vocal technique. Hofolding 1998.</ref>, which refers to voicing.
	<br><BR>		<br><BR>
	'''Jer-Ming Chen, John Smith''' And '''Joe Wolfe''' (2010)<ref>Jer-Ming Chen, John Smith And Joe Wolfe. How players use their vocal tracts in advanced clarinet and saxophone performance. In Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics) 25-31 August Sydney and Katoomba, Australia 2010. [https://www.acoustics.asn.au/conference_proceedings/ICA2010/cdrom-ISMA2010/papers/p24.pdf] {12.01.2020}</ref> have found that experienced players can only play very high notes because the acoustic resistance in their oral cavity corresponds to the acoustic resistance of the note played in the instrument.		'''Jer-Ming Chen, John Smith''' And '''Joe Wolfe''' (2010)<ref>Jer-Ming Chen, John Smith And Joe Wolfe. How players use their vocal tracts in advanced clarinet and saxophone performance. In Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics) 25-31 August Sydney and Katoomba, Australia 2010. [https://www.acoustics.asn.au/conference_proceedings/ICA2010/cdrom-ISMA2010/papers/p24.pdf] {12.01.2020}</ref> have found that experienced players can only play very high notes because the acoustic resistance in their oral cavity corresponds to the acoustic resistance of the note played in the instrument.
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	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]~~
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	==References==		==References==
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	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]
	[[Kategorie:Seiten, die ~~doppelte Argumente in Vorlagenaufrufen verwenden]]~~		[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]

	~~[[Kategorie:Fundamentals, English~~]]
	[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]		[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

Heinrich: /* Scientific Studies */

2021-05-01T18:08:06Z

Scientific Studies

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	Based on interviews with teachers, '''Darleny González''' and '''Payri Blas''' (2017)<ref>González, Darleny, and Blas Payri. “A Vowel-Based Method for Vocal Tract Control in Clarinet Pedagogy.” International Journal of Music Education 35, no. 3 (August 2017): 435–45. [https://doi.org/10.1177/0255761416689840 doi.org]		Based on interviews with teachers, '''Darleny González''' and '''Payri Blas''' (2017)<ref>González, Darleny, and Blas Payri. “A Vowel-Based Method for Vocal Tract Control in Clarinet Pedagogy.” International Journal of Music Education 35, no. 3 (August 2017): 435–45. [https://doi.org/10.1177/0255761416689840 doi.org]
	{12.12.2020}</ref> investigated the use of vowels with music students in the classroom. Students were able to easily implement deliberate "vowel shaping." As a result, they improved timbre and response and increased their technical ease. They recommend the following vowel-register combinations:		{12.12.2020}</ref> investigated the use of vowels with music students in the classroom. Students were able to easily implement deliberate "vowel shaping." As a result, they improved timbre and response and increased their technical ease. They recommend the following vowel-register combinations:
	~~<br>~~
	See also González, Darleny, and Blas Payri (2017)<ref>González, Darleny, and Blas Payri. “A Vowel-Based Method for Vocal Tract Control in Clarinet Pedagogy.” International Journal of Music Education 35, no. 3 (August 2017): 435–45. doi.org {12.12.2020}</ref> who recommend the following vowel-register combinations:
	* [https://en.wikipedia.org/wiki/Open_front_unrounded_vowel a] for chalumeau		* [https://en.wikipedia.org/wiki/Open_front_unrounded_vowel a] for chalumeau
	* [https://en.wikipedia.org/wiki/Open-mid_back_rounded_vowel ɔ] for throat register		* [https://en.wikipedia.org/wiki/Open-mid_back_rounded_vowel ɔ] for throat register
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			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]
			[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

	==References==		==References==

Heinrich: /* Historical Methods */

2021-05-01T18:05:41Z

Historical Methods

← Nächstältere Version		Version vom 1. Mai 2021, 20:05 Uhr
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	==Historical Methods==		==Historical Methods==
	Even the authors of the first instructional works, such as Amand Vanderhagen (1785)<ref>Vanderhagen, Amand. 1785. Méthode nouvelle et raisonnée pour la clarinette. Paris: Boyer.</ref>, Frédéric Blasius (1796)<ref>Blasius, Frédéric. Nouvelle méthode de clarinette. Paris c.1796. Reprinted, Geneva 1972</ref>, oder J. Heinrich Backofen (1802)<ref> discuss embouchure, finger technique, and articulation. In these historical sources, however, there are no indications of the significance and function of conscious voicing. That singing should be the basis of instrumental playing, however, is noted in prominent places, such as Jean-Xavier Lefèvre’s Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement (1811): "one must sing with the instrument as with the voice; only the means differ."		Even the authors of the first instructional works, such as Amand Vanderhagen (1785)<ref>Vanderhagen, Amand. 1785. Méthode nouvelle et raisonnée pour la clarinette. Paris: Boyer.</ref>, Frédéric Blasius (1796)<ref>Blasius, Frédéric. Nouvelle méthode de clarinette. Paris c.1796. Reprinted, Geneva 1972</ref>, oder J. Heinrich Backofen (1802)<ref>Backofen, Johann Heinrich. Anweisung zur Klarinette. Leipzig, 1802</ref> discuss embouchure, finger technique, and articulation. In these historical sources, however, there are no indications of the significance and function of conscious voicing. That singing should be the basis of instrumental playing, however, is noted in prominent places, such as Jean-Xavier Lefèvre’s Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement (1811)<ref>Jean-Xavier Lefèvre: ''Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement''. Naderman, Paris 1802. [https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10497389_00007.html]</ref>: "one must sing with the instrument as with the voice; only the means differ."

	Even more recently, voicing was not necessarily part of the teaching vocabulary. For example, Gervase de Peyer, Kalmen Oppermann or Leon Russianoff never used this term in their teaching (see Thomas Piercy), but emphasized the importance of singing as the basis of music-making.		Even more recently, voicing was not necessarily part of the teaching vocabulary. For example, Gervase de Peyer, Kalmen Oppermann or Leon Russianoff never used this term in their teaching (see [[Thomas Piercy#The teaching vocabulary\|Thomas Piercy]]), but emphasized the importance of singing as the basis of music-making.

	===Double-Lip Embouchure Favors the Shaping of a Resonance Chamber===		===Double-Lip Embouchure Favors the Shaping of a Resonance Chamber===
	If one changes from the "normal" embouchure to a "historical" embouchure form such as the [[Embouchure#Reed Above – Maxillary Embouchure\|"reed above" (maxillary embouchure)]] or [[Embouchure#Double-Lip Embouchure?\|double-lip embouchure]], one becomes aware of the connection between timbre, response, and shaping of the oral cavity: if the upper lip covers the incisors in when playing with double-lip embouchure, a chain of muscle tension is triggered which raises the tip of the tongue, activates the muscle plate of the floor of the mouth, and opens the soft palate. The sound changes.		If one changes from the "normal" embouchure to a "historical" embouchure form such as the [[Embouchure#Reed Above – Maxillary Embouchure\|"reed above" (maxillary embouchure)]] or [[Embouchure#Double-Lip Embouchure?\|double-lip embouchure]], one becomes aware of the connection between timbre, response, and shaping of the oral cavity: if the upper lip covers the incisors in when playing with double-lip embouchure, a chain of muscle tension is triggered which raises the tip of the tongue, activates the muscle plate of the floor of the mouth, and opens the soft palate. The sound changes.
	<br>		<br>
	The muscular plate of the floor of the mouth, the [https://flexikon.doccheck.com/de/Musculus_mylohyoideus Musculus mylohyoideus], is fused by connective tissue to the chin at the front and to the hyoid bone at the back. If it is activated while the jaw remains in the same position, the volume of the oral cavity increases at its base. The floor of the mouth lowers and at the same time the soft palate rises. In this way, the pharynx is stretched out like a small igloo-tent and formed into a resonance chamber. It is the same movement as yawning with a closed mouth – a yawn that takes place without moving the jaw.		The muscular plate of the floor of the mouth, the [https://flexikon.doccheck.com/de/Musculus_mylohyoideus Musculus mylohyoideus], is fused by connective tissue to the chin at the front and to the hyoid bone at the back. If it is activated while the jaw remains in the same position, the volume of the oral cavity increases at its base. The floor of the mouth lowers and at the same time the soft palate rises. In this way, the pharynx is stretched out like a small igloo-tent and formed into a resonance chamber. It is the same movement as yawning with a closed mouth – a yawn that takes place without moving the jaw.
	<br>		<br>
	The old French school taught the double-lip embouchure, and American clarinetists associated with that tradition (e.g. Joe Allard through Gaston Hamelin) recommend transferring the vowel shaping as it inevitably occurs with the double-lip embouchure, to the embouchure commonly used today. In most cases, the recommended vowel formation is an "ee."		The old French school taught the double-lip embouchure, and American clarinetists associated with that tradition (e.g. Joe Allard through Gaston Hamelin) recommend transferring the vowel shaping as it inevitably occurs with the double-lip embouchure, to the embouchure commonly used today. In most cases, the recommended vowel formation is an "ee."

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	==Didactic work, Comments by the Interviewees==		==Didactic work, Comments by the Interviewees==
	===Vowel Shaping Controls Timbre, Intonation, and Response===		===Vowel Shaping Controls Timbre, Intonation, and Response===
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	Depending on the direction in which the timbre is to be corrected, [[Sylvie Hue#L’air chaud, l’air froid\|Sylvie Hue]] shows the younger pupils that a cold air stream helps to center the sound. A warm air stream would widen and open the sound. If the sound is tight and compressed, Sylvie recommends forming the vowel [a]. A warm or cold airflow can be easily determined by holding the hand in front of the mouth while exhaling.		Depending on the direction in which the timbre is to be corrected, [[Sylvie Hue#L’air chaud, l’air froid\|Sylvie Hue]] shows the younger pupils that a cold air stream helps to center the sound. A warm air stream would widen and open the sound. If the sound is tight and compressed, Sylvie recommends forming the vowel [a]. A warm or cold airflow can be easily determined by holding the hand in front of the mouth while exhaling.

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	===Singing and Inner Singing Along===		===Singing and Inner Singing Along===
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	[[Gerald Kraxberger#Voklalformung\|Gerald Kraxberger]] had the experience that opening the throat often results in a loss of embouchure control. He nevertheless recommends the vowel formation [a], while simultaneously creating a focus right at the front, in embouchure formation through the lips. If this is not possible, he recommends the vowel formation [i].		[[Gerald Kraxberger#Voklalformung\|Gerald Kraxberger]] had the experience that opening the throat often results in a loss of embouchure control. He nevertheless recommends the vowel formation [a], while simultaneously creating a focus right at the front, in embouchure formation through the lips. If this is not possible, he recommends the vowel formation [i].

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten]]
			[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

	==Scientific Studies==		==Scientific Studies==
	No other parameter of clarinet technique has been the subject of so many physical studies as the airflow in the wind player's vocal tract. Changes in the vocal tract can affect the glottis, pharynx, soft palate, and tongue. When quantifying the relationship between pitch, sound quality, and		No other parameter of clarinet technique has been the subject of so many physical studies as the airflow in the wind player's vocal tract. Changes in the vocal tract can affect the glottis, pharynx, soft palate, and tongue. When quantifying the relationship between pitch, sound quality, and

Heinrich: /* Historical Methods */

2021-05-01T18:02:08Z

Historical Methods

← Nächstältere Version		Version vom 1. Mai 2021, 20:02 Uhr
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	==Historical Methods==		==Historical Methods==
	Even the authors of the first instructional works, such as Amand Vanderhagen (1785), ~~[10~~.] Frédéric Blasius, (1796) ~~[11~~.~~] or~~ J. Heinrich Backofen (1802) ~~[12.]~~ discuss embouchure, finger technique, and articulation. In these historical sources, however, there are no indications of the significance and function of conscious voicing. That singing should be the basis of instrumental playing, however, is noted in prominent places, such as Jean-Xavier Lefèvre’s Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement (1811): "one must sing with the instrument as with the voice; only the means differ."~~[13.]~~		Even the authors of the first instructional works, such as Amand Vanderhagen (1785)<ref>Vanderhagen, Amand. 1785. Méthode nouvelle et raisonnée pour la clarinette. Paris: Boyer.</ref>, Frédéric Blasius (1796)<ref>Blasius, Frédéric. Nouvelle méthode de clarinette. Paris c.1796. Reprinted, Geneva 1972</ref>, oder J. Heinrich Backofen (1802)<ref> discuss embouchure, finger technique, and articulation. In these historical sources, however, there are no indications of the significance and function of conscious voicing. That singing should be the basis of instrumental playing, however, is noted in prominent places, such as Jean-Xavier Lefèvre’s Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement (1811): "one must sing with the instrument as with the voice; only the means differ."

	Even more recently, voicing was not necessarily part of the teaching vocabulary. For example, Gervase de Peyer, Kalmen Oppermann or Leon Russianoff never used this term in their teaching (see Thomas Piercy), but emphasized the importance of singing as the basis of music-making.		Even more recently, voicing was not necessarily part of the teaching vocabulary. For example, Gervase de Peyer, Kalmen Oppermann or Leon Russianoff never used this term in their teaching (see Thomas Piercy), but emphasized the importance of singing as the basis of music-making.
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	The muscular plate of the floor of the mouth, the [https://flexikon.doccheck.com/de/Musculus_mylohyoideus Musculus mylohyoideus], is fused by connective tissue to the chin at the front and to the hyoid bone at the back. If it is activated while the jaw remains in the same position, the volume of the oral cavity increases at its base. The floor of the mouth lowers and at the same time the soft palate rises. In this way, the pharynx is stretched out like a small igloo-tent and formed into a resonance chamber. It is the same movement as yawning with a closed mouth – a yawn that takes place without moving the jaw.		The muscular plate of the floor of the mouth, the [https://flexikon.doccheck.com/de/Musculus_mylohyoideus Musculus mylohyoideus], is fused by connective tissue to the chin at the front and to the hyoid bone at the back. If it is activated while the jaw remains in the same position, the volume of the oral cavity increases at its base. The floor of the mouth lowers and at the same time the soft palate rises. In this way, the pharynx is stretched out like a small igloo-tent and formed into a resonance chamber. It is the same movement as yawning with a closed mouth – a yawn that takes place without moving the jaw.
	<br>		<br>
	The old French school taught the double-lip embouchure, and American clarinetists associated with that tradition (e.g. Joe Allard through Gaston Hamelin) recommend transferring the vowel shaping as it inevitably occurs with the double-lip embouchure, to the embouchure commonly used today. In most cases, the recommended vowel formation is an "ee."		The old French school taught the double-lip embouchure, and American clarinetists associated with that tradition (e.g. Joe Allard through Gaston Hamelin) recommend transferring the vowel shaping as it inevitably occurs with the double-lip embouchure, to the embouchure commonly used today. In most cases, the recommended vowel formation is an "ee."

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

	==Didactic work, Comments by the Interviewees==		==Didactic work, Comments by the Interviewees==
	===Vowel Shaping Controls Timbre, Intonation, and Response===		===Vowel Shaping Controls Timbre, Intonation, and Response===

Heinrich: /* Historical Methods */

2021-05-01T18:00:41Z

Historical Methods

← Nächstältere Version		Version vom 1. Mai 2021, 20:00 Uhr
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	==Historical Methods==		==Historical Methods==
	Even the authors of the first instructional works, such as Amand Vanderhagen (1785),~~<ref>Vanderhagen, Amand~~. ~~1785. Méthode nouvelle et raisonnée pour la clarinette. Paris: Boyer</ref>,~~ Frédéric Blasius (1796)~~<ref>Blasius, Frédéric~~. ~~Nouvelle méthode de clarinette. Paris c.1796. Reprinted, Geneva 1972</ref>, oder~~ J. Heinrich Backofen (1802)~~<ref>Backofen, Johann Heinrich~~. ~~Anweisung zur Klarinette. Leipzig, 1802</ref>~~ discuss embouchure, finger technique, and articulation. In these historical sources, however, there are no indications of the significance and function of conscious voicing. That singing should be the basis of instrumental playing, however, is noted in prominent places, such as Jean-Xavier Lefèvre’s Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement (1811)<ref>Jean-Xavier Lefèvre: ''Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement''. Naderman, Paris 1802. [https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10497389_00007.html]</ref>.: "one must sing with the instrument as with the voice; only the means differ."		Even the authors of the first instructional works, such as Amand Vanderhagen (1785), [10.] Frédéric Blasius, (1796) [11.] or J. Heinrich Backofen (1802) [12.] discuss embouchure, finger technique, and articulation. In these historical sources, however, there are no indications of the significance and function of conscious voicing. That singing should be the basis of instrumental playing, however, is noted in prominent places, such as Jean-Xavier Lefèvre’s Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement (1811): "one must sing with the instrument as with the voice; only the means differ."[13.]

	Even more recently, voicing was not necessarily part of the teaching vocabulary. For example, Gervase de Peyer, Kalmen Oppermann or Leon Russianoff never used this term in their teaching (see Thomas Piercy), but emphasized the importance of singing as the basis of music-making.		Even more recently, voicing was not necessarily part of the teaching vocabulary. For example, Gervase de Peyer, Kalmen Oppermann or Leon Russianoff never used this term in their teaching (see Thomas Piercy), but emphasized the importance of singing as the basis of music-making.
Zeile 118:		Zeile 118:
	The muscular plate of the floor of the mouth, the [https://flexikon.doccheck.com/de/Musculus_mylohyoideus Musculus mylohyoideus], is fused by connective tissue to the chin at the front and to the hyoid bone at the back. If it is activated while the jaw remains in the same position, the volume of the oral cavity increases at its base. The floor of the mouth lowers and at the same time the soft palate rises. In this way, the pharynx is stretched out like a small igloo-tent and formed into a resonance chamber. It is the same movement as yawning with a closed mouth – a yawn that takes place without moving the jaw.		The muscular plate of the floor of the mouth, the [https://flexikon.doccheck.com/de/Musculus_mylohyoideus Musculus mylohyoideus], is fused by connective tissue to the chin at the front and to the hyoid bone at the back. If it is activated while the jaw remains in the same position, the volume of the oral cavity increases at its base. The floor of the mouth lowers and at the same time the soft palate rises. In this way, the pharynx is stretched out like a small igloo-tent and formed into a resonance chamber. It is the same movement as yawning with a closed mouth – a yawn that takes place without moving the jaw.
	<br>		<br>
	The old French school taught the double-lip embouchure, and American clarinetists associated with that tradition (e.g. Joe Allard through Gaston Hamelin) recommend transferring the vowel shaping as it inevitably occurs with the double-lip embouchure, to the embouchure commonly used today. In most cases, the recommended vowel formation is an "ee."		The old French school taught the double-lip embouchure, and American clarinetists associated with that tradition (e.g. Joe Allard through Gaston Hamelin) recommend transferring the vowel shaping as it inevitably occurs with the double-lip embouchure, to the embouchure commonly used today. In most cases, the recommended vowel formation is an "ee."

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	==Didactic work, Comments by the Interviewees==		==Didactic work, Comments by the Interviewees==
	===Vowel Shaping Controls Timbre, Intonation, and Response===		===Vowel Shaping Controls Timbre, Intonation, and Response===
Zeile 273:		Zeile 269:
	==References==		==References==
	<references />		<references />

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]
	[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]		[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

Heinrich: /* Historical Methods */

2021-05-01T18:00:29Z

Historical Methods

← Nächstältere Version		Version vom 1. Mai 2021, 20:00 Uhr
Zeile 109:		Zeile 109:

	==Historical Methods==		==Historical Methods==
	Even the authors of the first instructional works, such as Amand Vanderhagen (1785), ~~[10~~.] Frédéric Blasius, (1796) ~~[11~~.~~] or~~ J. Heinrich Backofen (1802) ~~[12~~.] discuss embouchure, finger technique, and articulation. In these historical sources, however, there are no indications of the significance and function of conscious voicing. That singing should be the basis of instrumental playing, however, is noted in prominent places, such as Jean-Xavier Lefèvre’s Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement (1811): "one must sing with the instrument as with the voice; only the means differ."~~[13.]~~		Even the authors of the first instructional works, such as Amand Vanderhagen (1785),<ref>Vanderhagen, Amand. 1785. Méthode nouvelle et raisonnée pour la clarinette. Paris: Boyer</ref>, Frédéric Blasius (1796)<ref>Blasius, Frédéric. Nouvelle méthode de clarinette. Paris c.1796. Reprinted, Geneva 1972</ref>, oder J. Heinrich Backofen (1802)<ref>Backofen, Johann Heinrich. Anweisung zur Klarinette. Leipzig, 1802</ref> discuss embouchure, finger technique, and articulation. In these historical sources, however, there are no indications of the significance and function of conscious voicing. That singing should be the basis of instrumental playing, however, is noted in prominent places, such as Jean-Xavier Lefèvre’s Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement (1811)<ref>Jean-Xavier Lefèvre: ''Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement''. Naderman, Paris 1802. [https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10497389_00007.html]</ref>.: "one must sing with the instrument as with the voice; only the means differ."

	Even more recently, voicing was not necessarily part of the teaching vocabulary. For example, Gervase de Peyer, Kalmen Oppermann or Leon Russianoff never used this term in their teaching (see Thomas Piercy), but emphasized the importance of singing as the basis of music-making.		Even more recently, voicing was not necessarily part of the teaching vocabulary. For example, Gervase de Peyer, Kalmen Oppermann or Leon Russianoff never used this term in their teaching (see Thomas Piercy), but emphasized the importance of singing as the basis of music-making.
Zeile 118:		Zeile 118:
	The muscular plate of the floor of the mouth, the [https://flexikon.doccheck.com/de/Musculus_mylohyoideus Musculus mylohyoideus], is fused by connective tissue to the chin at the front and to the hyoid bone at the back. If it is activated while the jaw remains in the same position, the volume of the oral cavity increases at its base. The floor of the mouth lowers and at the same time the soft palate rises. In this way, the pharynx is stretched out like a small igloo-tent and formed into a resonance chamber. It is the same movement as yawning with a closed mouth – a yawn that takes place without moving the jaw.		The muscular plate of the floor of the mouth, the [https://flexikon.doccheck.com/de/Musculus_mylohyoideus Musculus mylohyoideus], is fused by connective tissue to the chin at the front and to the hyoid bone at the back. If it is activated while the jaw remains in the same position, the volume of the oral cavity increases at its base. The floor of the mouth lowers and at the same time the soft palate rises. In this way, the pharynx is stretched out like a small igloo-tent and formed into a resonance chamber. It is the same movement as yawning with a closed mouth – a yawn that takes place without moving the jaw.
	<br>		<br>
	The old French school taught the double-lip embouchure, and American clarinetists associated with that tradition (e.g. Joe Allard through Gaston Hamelin) recommend transferring the vowel shaping as it inevitably occurs with the double-lip embouchure, to the embouchure commonly used today. In most cases, the recommended vowel formation is an "ee."		The old French school taught the double-lip embouchure, and American clarinetists associated with that tradition (e.g. Joe Allard through Gaston Hamelin) recommend transferring the vowel shaping as it inevitably occurs with the double-lip embouchure, to the embouchure commonly used today. In most cases, the recommended vowel formation is an "ee."

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

	==Didactic work, Comments by the Interviewees==		==Didactic work, Comments by the Interviewees==
	===Vowel Shaping Controls Timbre, Intonation, and Response===		===Vowel Shaping Controls Timbre, Intonation, and Response===

Heinrich: /* Warm or Cold Air? */

2021-05-01T17:56:20Z

Warm or Cold Air?

← Nächstältere Version		Version vom 1. Mai 2021, 19:56 Uhr
Zeile 163:		Zeile 163:


	====Warm or Cold Air?====		===Warm or Cold Air?===
	Depending on the direction in which the timbre is to be corrected, [[Sylvie Hue#L’air chaud, l’air froid\|Sylvie Hue]] shows the younger pupils that a cold air stream helps to center the sound. A warm air stream would widen and open the sound. If the sound is tight and compressed, Sylvie recommends forming the vowel [a]. A warm or cold airflow can be easily determined by holding the hand in front of the mouth while exhaling.		Depending on the direction in which the timbre is to be corrected, [[Sylvie Hue#L’air chaud, l’air froid\|Sylvie Hue]] shows the younger pupils that a cold air stream helps to center the sound. A warm air stream would widen and open the sound. If the sound is tight and compressed, Sylvie recommends forming the vowel [a]. A warm or cold airflow can be easily determined by holding the hand in front of the mouth while exhaling.

			[[Kategorie:Fundamentals, English]]
			[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]

	===Singing and Inner Singing Along===		===Singing and Inner Singing Along===

Heinrich am 1. Mai 2021 um 17:55 Uhr

2021-05-01T17:55:41Z

← Nächstältere Version		Version vom 1. Mai 2021, 19:55 Uhr
Zeile 46:		Zeile 46:
	#The middle and front part of the tongue use their distance from the hard palate to determine the speed with which the air hits the reed.		#The middle and front part of the tongue use their distance from the hard palate to determine the speed with which the air hits the reed.
	#Only the tip of the tongue performs the articulation movements on the reed; the middle and back part of the tongue independently form the resonance chamber and remains generally in the same position (see [https://youtu.be/MWcOwgWsPHA?t=331 Video] with Sarah Willis).		#Only the tip of the tongue performs the articulation movements on the reed; the middle and back part of the tongue independently form the resonance chamber and remains generally in the same position (see [https://youtu.be/MWcOwgWsPHA?t=331 Video] with Sarah Willis).
	==Function of the Glottis==		====Function of the Glottis====
	In addition to vowel shaping by tongue position, the air velocity in the vocal tract can be regulated by opening the glottis. Jenny Maclay (2020)<ref>Maclay, Jenny. What does voicing mean to clarinetists. www.dansr.com, 2020. [https://jennyclarinet.com/2020/07/what-does-voicing-mean-to-clarinetists/ jennyclarinet.com]{10. Dezember 2020}</ref> defines "voicing" as a combination of vowel shaping and an internal singing along of the pitch. The vocal cords change their tension according to the pitch, but do not vibrate. This can be seen through the position of the larynx, and felt through the changing opening of the glottis. If one sings a low note and then a high note, one can also clearly perceive the different laryngeal positions from the outside. Transferring this flexibility to corresponding pitches in instrumental playing improves sound, intonation, and response.		In addition to vowel shaping by tongue position, the air velocity in the vocal tract can be regulated by opening the glottis. Jenny Maclay (2020)<ref>Maclay, Jenny. What does voicing mean to clarinetists. www.dansr.com, 2020. [https://jennyclarinet.com/2020/07/what-does-voicing-mean-to-clarinetists/ jennyclarinet.com]{10. Dezember 2020}</ref> defines "voicing" as a combination of vowel shaping and an internal singing along of the pitch. The vocal cords change their tension according to the pitch, but do not vibrate. This can be seen through the position of the larynx, and felt through the changing opening of the glottis. If one sings a low note and then a high note, one can also clearly perceive the different laryngeal positions from the outside. Transferring this flexibility to corresponding pitches in instrumental playing improves sound, intonation, and response.
	<br>		<br>
Zeile 57:		Zeile 57:
	<br>		<br>
	If the pitch to be played exceeds the singable range, the tongue takes over the function of adjusting the speed of the air flow to the pitch accordingly. The combination of all aspects involved in voicing from low to high registers can be seen in the [https://youtu.be/MWcOwgWsPHA?t=104 video by Sarah Willis].		If the pitch to be played exceeds the singable range, the tongue takes over the function of adjusting the speed of the air flow to the pitch accordingly. The combination of all aspects involved in voicing from low to high registers can be seen in the [https://youtu.be/MWcOwgWsPHA?t=104 video by Sarah Willis].
	==Quotations==		====Quotations====
	'''Paula Corley''' (2019)<ref name =Corley>Corley, Paula. What a difference a vowel makes: Focus and tuning for clarinetists [https://www.dansr.com/vandoren/resources/what-a-difference-a-vowel-makes-focus-and-tuning-for-clarinetists www.dansr.com] {12.24.2020}</ref>. describes "voicing" as the deliberate shaping of the oral cavity with vowels during sound production:		'''Paula Corley''' (2019)<ref name =Corley>Corley, Paula. What a difference a vowel makes: Focus and tuning for clarinetists [https://www.dansr.com/vandoren/resources/what-a-difference-a-vowel-makes-focus-and-tuning-for-clarinetists www.dansr.com] {12.24.2020}</ref>. describes "voicing" as the deliberate shaping of the oral cavity with vowels during sound production:
	{{Zitat		{{Zitat

Heinrich am 1. Mai 2021 um 17:53 Uhr

2021-05-01T17:53:09Z

← Nächstältere Version		Version vom 1. Mai 2021, 19:53 Uhr
Zeile 46:		Zeile 46:
	#The middle and front part of the tongue use their distance from the hard palate to determine the speed with which the air hits the reed.		#The middle and front part of the tongue use their distance from the hard palate to determine the speed with which the air hits the reed.
	#Only the tip of the tongue performs the articulation movements on the reed; the middle and back part of the tongue independently form the resonance chamber and remains generally in the same position (see [https://youtu.be/MWcOwgWsPHA?t=331 Video] with Sarah Willis).		#Only the tip of the tongue performs the articulation movements on the reed; the middle and back part of the tongue independently form the resonance chamber and remains generally in the same position (see [https://youtu.be/MWcOwgWsPHA?t=331 Video] with Sarah Willis).
	==~~==Inner Sing-Along==~~==		==Function of the Glottis==
	In addition to vowel shaping by tongue position, the air velocity in the vocal tract can be regulated by opening the glottis. Jenny Maclay (2020)<ref>Maclay, Jenny. What does voicing mean to clarinetists. www.dansr.com, 2020. [https://jennyclarinet.com/2020/07/what-does-voicing-mean-to-clarinetists/ jennyclarinet.com]{10. Dezember 2020}</ref> defines "voicing" as a combination of vowel shaping and an internal singing along of the pitch. The vocal cords change their tension according to the pitch, but do not vibrate. This can be seen through the position of the larynx, and felt through the changing opening of the glottis. If one sings a low note and then a high note, one can also clearly perceive the different laryngeal positions from the outside. Transferring this flexibility to corresponding pitches in instrumental playing improves sound, intonation, and response.		In addition to vowel shaping by tongue position, the air velocity in the vocal tract can be regulated by opening the glottis. Jenny Maclay (2020)<ref>Maclay, Jenny. What does voicing mean to clarinetists. www.dansr.com, 2020. [https://jennyclarinet.com/2020/07/what-does-voicing-mean-to-clarinetists/ jennyclarinet.com]{10. Dezember 2020}</ref> defines "voicing" as a combination of vowel shaping and an internal singing along of the pitch. The vocal cords change their tension according to the pitch, but do not vibrate. This can be seen through the position of the larynx, and felt through the changing opening of the glottis. If one sings a low note and then a high note, one can also clearly perceive the different laryngeal positions from the outside. Transferring this flexibility to corresponding pitches in instrumental playing improves sound, intonation, and response.
	<br>		<br>
	<br>		<br>
	An inner sing-along builds a bridge to the mental practice technique (see Härtel 2012<ref>Haertel, Klaus. Mentales Training für Musiker. Clarino 9, 2012. [https://www.musikermedizin-leipzig.com/system/files/2824/original/Hae__rtel_Mentales_UEben_Clarino_9_2012.pdf?1516049849 www.musikermedizin-leipzig.com] {12.10. 2020}</ref>). This practice technique mentally links inner singing along with the finger, tongue, and breath movements without actually performing those movements. In this way, the brain regions involved are linked together.		An inner sing-along builds a bridge to the mental practice technique (see Härtel 2012<ref>Haertel, Klaus. Mentales Training für Musiker. Clarino 9, 2012. [https://www.musikermedizin-leipzig.com/system/files/2824/original/Hae__rtel_Mentales_UEben_Clarino_9_2012.pdf?1516049849 www.musikermedizin-leipzig.com] {12.10. 2020}</ref>). This practice technique mentally links inner singing along with the finger, tongue, and breath movements without actually performing those movements. In this way, the brain regions involved are linked together.
	~~===The Glottis Regulates the Speed of Air===~~		<br><br>
	Joseph Marchi (1994)<ref name=Marchi>Marchi, Joseph. Etude des harmoniques et du suraigu [à la clarinette]. Paris 1994. [https://www.henry-lemoine.com/assets/pdf/CATACL.pdf Henry Lemoine] {12.19.2020}</ref> does not focus on vowel shaping with the tongue but does use the vocal apparatus to regulate the speed of airflow. He explicitly mentions the [https://flexikon.doccheck.com/de/Kehlkopfmuskeln laryngeal muscle, which regulates the passage of air in the [https://medical-dictionary.thefreedictionary.com/glottis glottis] by slightly tensing and relaxing it, thus increasing the speed of air in the oral cavity and decreasing the air pressure. His method "Etude des harmoniques et du suraigu" is based on exercises in which different overtones are played on fingered fundamental notes of the chalumeau register by modifying the opening in the glottis and without changing the fingering (see also Johnston 1988<ref name =Johnston></ref>).		Joseph Marchi (1994)<ref name=Marchi>Marchi, Joseph. Etude des harmoniques et du suraigu [à la clarinette]. Paris 1994. [https://www.henry-lemoine.com/assets/pdf/CATACL.pdf Henry Lemoine] {12.19.2020}</ref> does not focus on vowel shaping with the tongue but does use the vocal apparatus to regulate the speed of airflow. He explicitly mentions the [https://flexikon.doccheck.com/de/Kehlkopfmuskeln laryngeal muscle, which regulates the passage of air in the [https://medical-dictionary.thefreedictionary.com/glottis glottis] by slightly tensing and relaxing it, thus increasing the speed of air in the oral cavity and decreasing the air pressure. His method "Etude des harmoniques et du suraigu" is based on exercises in which different overtones are played on fingered fundamental notes of the chalumeau register by modifying the opening in the glottis and without changing the fingering (see also Johnston 1988<ref name =Johnston></ref>).
	<br>		<br>
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	}}		}}

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	==Historical Methods==		==Historical Methods==
Zeile 134:		Zeile 134:
	<br>		<br>

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	===Each Register Has Its Own Specific Voicing===		===Each Register Has Its Own Specific Voicing===
Zeile 154:		Zeile 154:
	For the short notes of the middle range, [[Harri Mäki#Think oft he middle oft the tongue position\|Harri Mäki]] recommends lifting the tongue in its middle area. Without an instrument, the transition from the vowel [https://en.wikipedia.org/wiki/Close_front_rounded_vowel y] to [https://en.wikipedia.org/wiki/Voiceless_palatal_fricative ç] as in German "Küche" can be easily observed. Without using the instrument, a strong "jet-like" noise can be produced, depending on the strength of the air flow. Transferred to instrumental playing and combined with the usual [[Embouchure#Advantageous Muscle Combinations\|embouchure forming of the lips]], this produces very good results.		For the short notes of the middle range, [[Harri Mäki#Think oft he middle oft the tongue position\|Harri Mäki]] recommends lifting the tongue in its middle area. Without an instrument, the transition from the vowel [https://en.wikipedia.org/wiki/Close_front_rounded_vowel y] to [https://en.wikipedia.org/wiki/Voiceless_palatal_fricative ç] as in German "Küche" can be easily observed. Without using the instrument, a strong "jet-like" noise can be produced, depending on the strength of the air flow. Transferred to instrumental playing and combined with the usual [[Embouchure#Advantageous Muscle Combinations\|embouchure forming of the lips]], this produces very good results.

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	====The Higher the Pitch, the Greater the Air Velocity====		====The Higher the Pitch, the Greater the Air Velocity====
	For a good response, the higher the pitch, the faster the air stream hitting the reed should be, thereby decreasing the air pressure (see [Michel Arrignon#Le suraigu\|Michel Arrignon, 2]] and [[Michel Arrignon#Pour le suraigu : air vite, pression basse\|3]]). This is achieved by shaping a smaller diameter of the airway. In addition to activating the glottis by [[Voicing and Singing#Singing and Inner Singing Along\|singing along internally]], a pronounced high tongue position in the front part of the oral cavity is indicated. This also applies to other wind instruments, see also [[Ernst Schlader#Luftgeschwindigkeit\|Ernst Schlader]] Erfahrungen im Nebenfach Trompete, video: [https://www.facebook.com/watch/?v=475522453320150 Adam Rapa: How To Play High Notes Easier].		For a good response, the higher the pitch, the faster the air stream hitting the reed should be, thereby decreasing the air pressure (see [Michel Arrignon#Le suraigu\|Michel Arrignon, 2]] and [[Michel Arrignon#Pour le suraigu : air vite, pression basse\|3]]). This is achieved by shaping a smaller diameter of the airway. In addition to activating the glottis by [[Voicing and Singing#Singing and Inner Singing Along\|singing along internally]], a pronounced high tongue position in the front part of the oral cavity is indicated. This also applies to other wind instruments, see also [[Ernst Schlader#Luftgeschwindigkeit\|Ernst Schlader]] Erfahrungen im Nebenfach Trompete, video: [https://www.facebook.com/watch/?v=475522453320150 Adam Rapa: How To Play High Notes Easier].

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	====Warm or Cold Air?====		====Warm or Cold Air?====
	Depending on the direction in which the timbre is to be corrected, [[Sylvie Hue#L’air chaud, l’air froid\|Sylvie Hue]] shows the younger pupils that a cold air stream helps to center the sound. A warm air stream would widen and open the sound. If the sound is tight and compressed, Sylvie recommends forming the vowel [a]. A warm or cold airflow can be easily determined by holding the hand in front of the mouth while exhaling.		Depending on the direction in which the timbre is to be corrected, [[Sylvie Hue#L’air chaud, l’air froid\|Sylvie Hue]] shows the younger pupils that a cold air stream helps to center the sound. A warm air stream would widen and open the sound. If the sound is tight and compressed, Sylvie recommends forming the vowel [a]. A warm or cold airflow can be easily determined by holding the hand in front of the mouth while exhaling.

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	===Singing and Inner Singing Along===		===Singing and Inner Singing Along===
Zeile 209:		Zeile 209:
	This procedure drills the independence of air conduction by small glottic movements and articulation movement of the tip of the tongue.		This procedure drills the independence of air conduction by small glottic movements and articulation movement of the tip of the tongue.

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	===The Oral Cavity as a Resonance Chamber===		===The Oral Cavity as a Resonance Chamber===
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	<br>		<br>

	~~[[Kategorie:Fundamentals, English]]~~

	==References==		==References==
	<references />		<references />

	~~[[Kategorie:Fundamentals, English]]~~

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	~~[[Kategorie:Fundamentals, English]]~~
	~~[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]~~

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]
	[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]		[[Kategorie:Seiten, die doppelte Argumente in Vorlagenaufrufen verwenden]]